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robotic-traveling-circus · 3 years

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Story Fragment - Promise

It was inevitable. There was no reason for the body to continue thus it shut itself down. The emotions that used to vibrate and dance within Bellamy’s being slipped out of existence.

And it broke their hearts.

Fredrick sat before them, his paws hovering over the open cavity of Bellamy’s chest. “Bunny Bell.” He whispered, voice dipping low in a sorrowful tone. This was wrong. It was horrifically wrong.

When the day came that they were distorted and locked in, Bellamy was their optimistic companion. Even when the magnets were torn from their face, they were still able to express themselves happily. He remembers the way Bellamy spoke of new beginnings, that the humans needed a break from the circus but they wouldn’t be forgotten.

That was four years ago. Four years of being unable to help their partner as he drifted away.

It began the day Bellamy did not react to Redd’s pestering like he used to.

“You’re hair is so dumb. It’s like you got a tail on your head. You’re a butt head!” Bellamy declared on several occasions.

“At least me ‘ead isn’t bald!” Redd would snap back with a snarl.

“Better bold than being a butt head.” The teasing would continue and insults would turn from childish to creative.

But the last insult Redd ever threw to Bellamy was, “‘Ey seat face! Why are you walkin’ so prem and prahper? Are you a stoeck oep poodle?”

It took a moment for the words to register, probably analyzing Redd’s accent. “Is the way I walk troublesome? If so, how would you suggest I modify my walk?” The words lacked Bellamy’s childish nature. There was no comeback or further insults.

“..why are you talkin like dat? Ded you 'it yooehr 'ead ahr sahmethin?” Redd took a step closer to examine his partner. They did not appear visually different since they had gotten locked in.

There was another processing period before Bellamy said, “If you have no suggestions for my improvement, I will ask my superiors for readjustment.”

It was the default language. The sentences and phrases they were given through programming rather than personality.

“Bellamy, are you feelin ahkay? I can stahp if you're naht feelin well.” The playful act was dropped. Instead, the rabbit’s actions created concern that fell on massively deaf ears.

“My apologies. I will go and rest.” It was simple and dull. Nothing any of the three were used to.

Yet, after a short period of rest, Bellamy was his usual self. He acted as though he had no memory of the interaction; perhaps that was true.

Another moment that was considered odd was during a game of Clown Mash. They would get a piece of paper and draw a body part before passing it along to the next person. Anyone who played with Bellamy received pretty horrific looking characters. They were not gorey but they definitely fell into the realm of body horror.

However, today’s character looked obscenely normal. There wasn't a clutter of additional limbs or eyes far too large for one’s head. There weren't obnoxious neon colors or glitter. They were normal and legitimate.

Even Sprinkles took offense to the dull creation. “What’s this? Is yawl messin’ with me?” She crossed her wings and gave Bellamy the look.

Yet, they hardly reacted under her gaze. “I am playing according to the rules. Have I misunderstood?”

“The rules?” She squawked, “ Yawl nevur play by the rules! Whut the heck is yawl on ‘bout?” Her feathers stood tall, and the gaze only worsened.

Yet again, Bellamy was unbothered. “Are the rules of the game to break the rules? I am afraid I do not understand your predicament, miss.”

Miss. When they called her miss, the trio suddenly had to deal with a puffed up chicken clucking words that were obviously against programming. At least, they were originally.

The next time there was a notable issue was when Bellamy sat Fredrick down to talk. The other two had been in rest mode, allowing them a momentary privacy.

“Fredrick! Did you miss me? I know you miss our little chats.” Bellamy grins as much as they could without a face. “But I’ll be frank, my head has been screaming. I feel like I’m vanishing. It’s terrible!”

Despite the serious nature of the conversation, it eased Fredrick to interact with a Bellamy that sounded like himself. “Would this happen to have anything to do with how you have been acting?”

Any cheerful energy from the bunny was dropped. “Freddy. I don’t think Imma last.” He raised his single hand to hold one of his partner’s paws. “I haven’t felt this way in like, forever. Everything feels frazzled, and I know you’re afraid. You are all afraid.”

It caused the bear to frown, “We have noticed several changes in your behavior, but you always bounce back. It is concerning; do you remember what happened?”

His ears drooped, further than they already were. “Yeah. I rather forget! But boo hoo me, I can’t make the memories go away and now I feel like scrap.” They shook their head, refocusing themself. “Right. Get to the point, Bellamy!”

Fredrick watched his partner fumble with themself, and gently squeezed his paw. He hoped to provide reassurance. “It is okay, Bell. You can take your time when talking to me.”

He received silence for a while, having watched Bellamy pull themselves together. “It’s like whatever makes me, me, is vanishing. I’m getting tired and my head is screaming. I have to fight with myself! Can’t always say the words I want to. Can’t do the fun stuff that I want to do. It is like...like being torn apart.” They paused momentarily, head casted away from Fredrick. “But I know you are afraid. You won’t want me to go. You believed in my hope, my lies! And now I got yall livin’ a fantasy!”

Emotionally, the bunny broke down, allowing himself to be pulled into a hug and wither against his partner. “I-I’m sorry Freddy. It was unacceptable for me to drag you into my false hopes. I just wanted to be funny - to be cheerful - to be someone y’all could look to when ya needed a lift.” Their body shuddered, “but Imma fool. I steal faces and now I cannot even steal my own! All my functions are becoming pointless.”

There was a long pause, and the bear was about to speak when he heard Bellamy mumble, “I’m sorry. I’m so so sorry… I’m sorry. Sorry. Sorry. Sorry.” His voice repeated like a broken record.

“There is nothing to apologize for, Bell.” Fredrick says softly, pressing his nuzzle to the top of his bunny’s head. “You have been through a lot, possibly more than the rest of us. You deserve moments of vulnerability.

“Additionally, your hope is not false. If you believe in it, then I do too. I think, if my parents were here, they would promote and encourage your hope. It is a wonderful quality to have.” He carefully adjusts their position before having Bellamy lift his head. “You are not pointless, Bellamy. We love you. I love you. Your worth is not limited to your ability to perform tasks, we love you for who you are and who you have grown to be. And, in the event that you lose yourself, I assure you that we will still love you.”

“H-how can you love someone without any emotion?”

“Do you believe that is what it is coming to?” Bellamy nods in response to Fredrick’s question. “Then I believe it is an error. We may have emotions, but we have programming that can get damaged or corrupt. I will look into it. We will find a solution.”

“Even if I’m lost by them?”

“Especially if you are lost by then. We save our memories, I am positive there will always be a way to get you back. And, if we cannot, I am happy to start anew with you. We can create new memories.” He says, wanting to chase away any thoughts of despair.

“You..would go through the effort..of trying again?”

“Of course I would. I already told you. I, we, love you.” He rubs a thumb along what remains of Bell’s face. “We will do everything we possibly can. I promise.”

Bellamy offers a look of disbelief, and it was astonishing how expressive a faceless animatronics could be. But, Fredrick had to chase away the dark. “Do you trust me?”

“Yes, but -“

“No buts. Do you trust me, Bellamy?”

The bunny nods slightly, “Yeahh, I trust you. But a promise? How can ya promise something like that?”

“Because I have a good feeling. It may or may not take awhile, but I have a feeling this is fixable. Now, I will ask again. Do you, my silly Bunny Bell, trust me to figure this out?”

The other huffs a laugh in response, “Yeah. I trust ya, my cuddle teddy.”

“Perfect. And please, if you need to talk to us, any of us, do not be afraid. We are here for you.”

Another nod and Bellamy fixes themself to be in a comfortable cuddling position, using the bear’s chest as a pillow. “Can we rest now?”

“Of course. Hope you feel recharged in no time.” He cuddles Bell closer to him, wanting to protect him however he could. He wasn't a confrontational fellow, nor an outgoing one, but darn was he going to find a solution someday.

Someday.

That someday brought him to the present. His paws had just left his partner’s chest cavity. He was attempting to repair his silly bunny but it was not enough to restore them. Thus, Bellamy’s body shut down.

Without emotion there was no drive. And, without a drive, there was no purpose. The magnets that allowed Bellamy to wear his face or swap with others were torn out. There was no face to attempt to put back on because..the humans took it away. They did this on purpose, didn’t they? They broke Bellamy with no intention of fixing him.

They broke them. It made the situation worse because Bellamy believed the humans would come back for them.

Soon Fredrick broke down, a dreadful sorrow overtaking his voice. “Bunny Bell, B-bunny Bell, please. You cannot - we need you here. With us. Please turn back on.” Although he could not express tears the way a human does, he was certainly grieving the loss of his partner.

The bear’s paws finally moved from the open cavity to pull the functionless animatronic close to him. “I-I am sorry, Bunny-Bell. I - I will find a way to turn you back on, I promise. I swear, I promise.” He did not know what to do, but he’ll do anything.

Redd knelt down beside them, wrapping his arms around Fredrick. They were partners, the three of them. And it took the fox every ounce of his energy to not break down along with Fredrick.

It hurt. They weren’t supposed to feel pain but it hurt so bad. He had to helplessly watch one of his partners attempt to safe the other to no avail and it fucking hurt. “Fred, I - what do we do?” His ears were low, practically pressed into his body. “Can we really toehrn 'im back ahn?”

He felt torn. He didn’t want Fredrick to gain false hopes, but he didn’t want to dismiss this either.

“We - we have to get out of here… There has to..there has to be a way to repair him. Redd, he could have stayed with us for so much longer.” Fredrick clutches the bunny’s body harder. “I did..I did not try hard enough -they should have been functional, like us, and I - I promised.” He kept stuttering, his body struggling to adjust to their current happenings.

“Dahn't say shoeht stupid shet, mate. We all know you tried. You spahke to oehs abooeht it whenever you 'ad a new idea. You were doin yooehr best.” Redd offers, gently nudging against Fredrick and wrapping his tail around him. “I know you prahmised 'im boeht can we really fex 'im?”

“I want to think so. It’s..an issue with his face being gone, right? If - if we can get him a new face then maybe.” He pauses, “maybe we can at least get him functioning again.”

“So what? We can't ahpen de door. Dey are lahcked frahm de ooehtside. Sprinkles is naht 'elp, 'er beak is brahken. We can't fet throoehgh de wendows. What’s de plan?" Redd decides it was worth it to encourage Fredrick’s hope. If he promised Bellamy there was a solution to this, then Redd inherently made the same promise.

“I may have an idea.” Fredrick tries to compose himself, but would not let go of Bellamy. “You remember those outside voices?”

“The teenagers?” Sprinkles was quick to inquire.

“Yeah. They come by sometimes. I think they draw on the train? Regardless, maybe we can trick them into opening the door?” He offers the idea, lifting his head.

Redd could sense he was searching for some sort of confirmation. “Sooehnds trecky. Boeht I believe we can do it.”

Sprinkles seemed more reluctant on their success, but she caves. “Yeah, way can do it. Fahwar Bellamy.”

The combination of their support earns them a weak smile from their leader. “Do you hear that, Bunny Bell? We will get you out of here and fix you. We will not be afraid of the outside. I promised I would find a solution, and we will.”

“We love you, Bellamy.” Said both the bear and the fox at the same time.

#robotic traveling circus stories #fredrick #bellamy #redd #sprinkles #no beta read #I have no idea how to write accents? If it feels rude please tell me! I will change it immediately.#i cried while making this

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titleknown · 5 years

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Three Spooky Fictional Knockoff Toylines!

That’s right, as the big writing piece for this spooky time of year, it’s three spooky toylines ripping off bigger properties in a way that do not exist.

These are all public domain/CC0, free to use for whatever you see fit, though crediting me and linking to my Patreon or Ko-Fi would be nice.

Shoutout to @genustoys, @phelous and @therobotmonster for heavily inspiring these with their work!

Now, LET US BEGIN!

Monsterlords of the Nether Realms- This line is an odd duck in that it was a knockoff of a toyline that wasn't all that popular. Namely, Inhumanoids.

It was seemingly designed to be cross-compatible with the large monsters of that line, yet in all irony it stuck around seemingly far longer, likely due to the lower price points it was was able to get away with due to being a “non-branded” product and the cross-compatibility of play pattern with the larger figures.

And they were shockingly lavish for what was seemingly a “low rent” property, which has lead to suspicions of it and its related properties being a money-laundering scheme, or at least cover for something unsavory, though others say it could simply be good craftsmanship and the evidence in favor of and against such is perhaps a story for another day.

There were five of them that ended up bumping around store shelves, give or take a few “extras,” which we will cover as they come.

The first piece; likely intended as the “mascot” due to its prescence in promotional artwork is the one known as MOLINTHA, or “ANTHILL EVIL” on certain variants, a large figure encased in a roughly mountain shaped “shell” when curled in a specific position; with an ominous “maw” that turned into a torso when the figure was uncurled.

The mountain pieces themselves (Which were free-standing on their own) provided a large amount of play value with platforms seemingly shaped for various 3&¾-inch figures, but the body itself was a gorgeous design, with the “scaffolding” where the mountain clicked on turning into a series of platforms for figures to climb and clamber over,

The articulation was low, but the sculpting was pleasantly gnarly, resembling some dark ancient castle covered in mystic carving given humanoid form, without an articulated head but instead a snarling “maw” in which figures could be placed inside. Though, there has been some speculation that this head was ripped off a similar design from the front of the classic D&D Dungeon Master's Guide, and I would be lying if I did not see the resemblance.

As expected, it did not come with any figures, but did come with a large assortment of commonly-circulated plastic “bugs” molded in a clear rubbery plastic; along with a few of the notorous “Chinasaurs” that ended up as the basis for D&D monsters bizarrely enough.

The second known most commonly as “LEVIATHOIN” was a piece that had a similar yet wildly different gimmick. The main “body” was actually simply an inanimate idol, which one might say resembles a very specific image of Baphomet, but the smaller figures were of real interest.

Four five-inch ones, bearing an odd resemblance to a scaled-down Molhilintta minus the scaffolding and with a few odd tweaks, with a similar simple articulation scheme, but also a feature in which the arms and legs could “click” together tightly, which leads to the real draw of such.

Each figure attached to a socket in the main “idol” and functioned as a crude combiner., forming a huge “creature”. Each figure could function as n arm or a leg on either side, and the color variants (Including a few alledged remolds of these torsoes) could be their own article in and of themselves.

The third known as MECHA-SHAG was an extremely simple design and yet also one of the most bizarre of them all. It was a hairy “core” akin to the Masters of the Universe Grizzlor, but with a strange robotic face; limbs and at least a dozen missile launchers. They were Micronauts-styled “safety” missiles, but still fascinatingly odd all the same. There is evidence for the pieces origin as a possible Shogun Warriors/Jumbo Machinder knockoff, but again that is a detail for another day.

The fourth one was known as RUCIBEDO, and was unusual even for this line. It was a stylized kaiju-esque “pterodactyl” with a flapping action; its oddly “bio-mechanical” look seemingly giving credence to the idea that the enigmatic company behind the linwas making a Shogun Warriors knockoff-series before they decided to switch gears, but those are not the only notable parts.

The most blatant one is the fact that it is sculpted in a bright red; translucnet plastic, and not only that but had electric lights wired to the flapping mechanism in some bizarrely spacious “alcoves” in the back (Possibly for aborted missile-firing features), creating an immensely striking effect. Albeit one that had a tendency to break; though there are repair guides out there.

And the fifth PLUCHUN is an odd duck, because it should by all accounts be considered kind of a “ripoff” due to using far less material for the same price point as the others, but is often the most fondly remembered.

It is a small torso seemingly made of organic “pipes with a “hatch” on the head and a button slightly below. It also came with a small container of “slime” indicating its function. Namely, put it in the back of the head; press the button repeatedly; and the slime drips out of the holes in the creature, with a pumping rubber “heart” completing the effect. Weirdly; while the rubber on most of these has rotted off, there appears to be a fully sculpted (Albeit much cruder) “heart” that still moved in and out when the button was pressed.

The whole thing was capped off by immensely long rubbery bendy-limbs in the same style as the “main body's” pipes. These tended to be very fragile, and while memorable, this has the fewest surviving specimens out of them all.

As said before, there are other specimens that may be covered at a later date; such as the odd hand-puppet and the bizarrely remolded Imperial Dinosaurs linked to the line and the smaller-range figures, but this is running a bit long, so I'll leave it here for now.

Nightmare Gores- Relating to the preponderance of He-Man knockoff figure lines in the 80s, and the popularity of slasher films, it was only a matter of time that the two would be combined, in ways only possible without mass-fundie-protest at least) in small lines like this.

In striking red-and-black packaging with crude art of a horde of ghoulish monsters rseemingly ripping out of the card back, with the bizarrely memorable phrase of “WE WILL KILL YOU” coming out of a word balloon, there's relatively few things like it.

It used a standard barbarian body whose origins predated the line; but from where they predated was a matter of debate (Though it is known that it most certainly was original to that company and not a He-Man or Galaxy Hole bootleg(), all the same across the line with differing headsculpts.

The headsculpts did have consistent names, and one could tell their inspirations relatively well. Joe was obviously a Freddy Kreuger without the hat, the hockey-masked Rod was obviously Jason Voorhees, Mike was very obviously a riff on Michael Jackson's Thriller Werecat (Corroborated with the usual non-caucasian color of his body sculpt) and Gross was blatantly the Toxic Avenger. Mush was a generalized “melting” face, but could be said to be taken from Cropsey of The Burning; and Hexen's gas mask was likely inspired by My Bloody Valentine's main antagonist; albeit with bizarrely added devil horns.

Then there are the oddballs. Clash is a fan-favorite alongsid Hexen due to his pure black-plastic body and strange hood in striking red with a black void for a front and two piercing red pupils, but I like Frank a lot if only for being a big ridiculous Frankenstein head repurposed for this, as was what I would call the “Baltard” of this line Stall-9 with his slighly crossed eyes and almost comical grin negating whatever intimidation factory they might have. Redd caps off the line with the strange combination of bull and horse head designs obviously repurposed from the barbarian toyline this comes from in a way that still sorta works.

Their pack in accessories vary across production, but there are some commonalities. Mike; Rod; Hexen and Clash almost always came with cool red vinyl “jackets” and Tedd and Frank almost always came with bizzarrely realistic handguns molded in bright orange. And Stal-9; Mush and Clash came with a “chainsaw: very clearly remolded from a gun.

The rest were a mushmash of machetes and hammers, and knives; axes and clubs that were clearly re-utilized from the original line. There are other “relatives” like the Killer Beasts and the Murder Lady, but we'll leave it here for now.

ShineFriendz- One of the many Tamagochi-come-latelies in the 90s, this line tried valiantly to differentiate itself from the usual Tamagochi clones by giving itself a backlite, far more extensive interaction within the limits of its mono-colored pixel art and a link function for “playtimes,” All in a model approximately the size of a modern day smartphone, and to be supported with early web tie-ins in lieu of an expensive animated series.

Of course, the fact that it was its parent company's first venture into such things; a battery company to be exact (Hence why they felt so secure in being battery-eaters), there was very little oversight into the programming. And, due to a series of circumstances too stupid to mention, the devices had far more memory than they anticipated, and far more than they would need for the device's intended functions.

And, what happens when you have bored programmers and lots of time, you get easter eggs. Lots and lots of unsettling easter eggs. To the point where they took up approximately as much space as the “main” games.

So, they were immensely easy to run into during play, but they went unnoticed by corporate during the first three iterations of the pets. The most notorious of them was the possible evolution called only BREATHING which looked like an emaciated and decrepit eyeless version of the brand's canid mascot-species the Buroof that was continually doing what its name implied and had a legion of ominous quirks too long to list here.

Despite rumors, surprisingly none of the glitches involved causing death or injury to any of the pets. Though, that still didn't make them any less fucked up, with such examples as a “pet” known as BRILT that took the form of continual flame graphic that at times would flicker to the outline of another; random pet, to the weird “bird” known as CAUSE whose pleasure meter would go up if you hit the scold button,

There's a full list of “AnomalyFriendz” (the usual fan nickname0 that's too long to list here, but it wasn't limited to them, with such things as a “Game” that involved running from what looked like a crude pair of jaws to a “food” that looked like a wad with what was unmistakably eyes. And the web fiction didn't help, given how the actual text stories were dark , reading more like if Clive Barker wrote Watership Down with it just being barely within what was “appropriate” for kids, with increasingly less subtle allusions to the “AnomalyFriendz”

The minority of parental complaints weren't what got the execs notice however, it was actually the fans of the property, young girls who wrote in asking about those glitches. Not even in disapproving tones either, just asking whether they were intentional, or even asking if playground rumors (Or the rumors circulating across the website's own forums) were true.

This lead to them trying to integrate the macabre bits into the actual marketing for the toys, with the fourth iteration “FreakyFriendz,” with a cleverly altered shell with an ominously warped corner and more integration of the “anomalous” and “regular” Friends. And that is what sunk the line.

Because, parents actually noticed and; since this was the 90s; they bitched up a storm, leading to most of them being removed from shelves. Which is a shame, because enthusiasts say these were the best models yet.

The company left the business shortly thereafter, but there remains a small cult fandom to this day; complete with officially sanctioned web-iterations and even a few (sadly stillborn) attempts at full on revivals. But, maybe someday...

#action figures #toys #fictional toys #public domain #horror #things that need to exist #things that don't exist #macabre #weird #bootlegs #knockoffs

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tuseriesdetv · 3 years

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Guía de series: Estrenos y regresos de febrero 2021

Este pasado enero no ha sido tan largo como el del año anterior, ¿verdad? Seguro que os han quedado series pendientes. Corred, porque este febrero viene cargadito.

¡Feliz febrero!

Leyenda:

Verde: series nuevas.

Negro: regresos de otras series.

Naranja: miniseries o series documentales.

Amarillo: tv movies, documentales, especiales o pilotos.

Morado: season finales.

Púrpura: midseason finales.

Calendario de series

1 de febrero: The Drowning (1T) en Channel 5

3 de febrero:

Firefly Lane (1T completa) en Netflix

The Expanse (5T finale) en Prime Video

5 de febrero:

Hache (2T completa), Cidade invisível (1T completa), Malcolm & Marie, Seungriho y Strip Down, Rise Up en Netflix

The Snoopy Show (1T) en Apple TV+

Pequeñas coincidencias (3T y última completa) y Bliss en Prime Video

7 de febrero:

The Equalizer (1T) en CBS

Vitals en HBO Europe

8 de febrero: Black Lightning (4T) en The CW

10 de febrero: Crime Scene: The Vanishing at the Cecil Hotel y En Passant Pécho: Les Carottes Sont Cuites en Netflix

11 de febrero:

Clarice (1T) en CBS

Layla Majnun y Red Dot en Netflix

12 de febrero: To All the Boys: Always and Forever y Odio en Netflix

14 de febrero: The Great North (1T) en FOX

15 de febrero: The Crew (1T completa) en Netflix

16 de febrero:

Young Rock (1T) y Kenan (1T) en NBC

Queen Sugar (5T) en OWN

The Oval (2T) en BET

17 de febrero:

Behind Her Eyes (1T completa) en Netflix

Good Trouble (3T) en Freeform

19 de febrero:

For All Mankind (2T) en Apple TV+

Hierro (2T) en Movistar+

Tribes Of Europa (1T completa), Héroes: Silencio y Rock&Roll y I Care a Lot en Netflix

Tell Me Your Secrets (1T completa) y El Internado: Las Cumbres (1T completa) en Prime Video

Flora and Ulysses en Disney+

21 de febrero: When Calls the Heart (8T) en Hallmark

23 de febrero:

Superman & Lois (1T) en The CW

Pelé en Netflix

24 de febrero:

Snowfall (4T) en FX

Ginny & Georgia (1T completa) en Netflix

25 de febrero:

Punky Brewster (1T completa) en Peacock

Geez & Ann en Netflix

26 de febrero: Loco por ella en Netflix

28 de febrero: The Walking Dead (vuelve) en AMC

Estrenos de series

The Drowning (Channel 5)

Thriller sobre una mujer (Jill Halfpenny; Humans, Liar) que conoce a un adolescente (Cody Molko) y cree que ha encontrado a su hijo desaparecido hace ocho años. Su esperanza crece de tal manera que toma un peligroso y transgresor camino que la llevará hasta el borde de la razón. Completan el reparto Jonas Armstrong (Hit & Miss, Ripper Street), Rupert Penry-Jones (Lucky Man, The Strain) y Deborah Findlay (The Split, Collateral).

Creada por Francesca Brill (Crossroads) y Luke Watson, director de Britannia o Shameless; y escrita por Tim Dynevor (Emmerdale Farm). Cuatro episodios.

Estreno: 1 de febrero

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Firefly Lane (Netflix)

Tully (Katherine Heigl; Grey's Anatomy, Roswell) y Kate (Sarah Chalke; Scrubs, How I Met Your Mother), amigas desde la adolescencia, son inseparables gracias a años de éxitos, fracasos, depresiones y decepciones, pero rompen su relación por culpa de una traición impensable. Con Ben Lawson (Designated Survivor, 13 Reasons Why), Beau Garrett (Girlfriends' Guide to Divorce, The Good Doctor), Ali Skovbye (Breaktrough), Roan Curtis (The Magicians), Yael Yurman (Once Upon a Time, To All The Boys I've Loved Before), Jon Ecker (Narcos, Queen of the South), Brandon Jay McLaren (UnREAL, Girlfriends' Guide to Divorce), Jenna Rosenow (Mako Mermaids, Neighbours), Patrick Sabongui (The Flash, Homeland), Chelah Horsdal (The Man in the High Castle, You Me Her) y Brendan Taylor (The Arrangement).

Adaptación de la novela de Kristin Hannah (2008). Escrita por Maggie Friedman (Witches of East End, Dawson's Creek). Diez episodios.

Estreno: 3 de febrero

Estreno en España: 3 de febrero en Netflix España

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Cidade invisível (Netflix)

Mientras investiga la muerte de un extraño animal en una playa de Río de Janeiro, un detective del departamento de Medio Ambiente (Marco Pigossi; Alta mar, Tidelands) se encuentra de pronto en el centro de una batalla entre nuestro mundo y otro subterráneo habitado por criaturas mitológicas evolucionadas de un antiguo linaje del folclore brasileño. Completan el reparto Alessandra Negrini (Paraíso Tropical, Cleópatra), Julia Konrad (Malação), José Dumont (Kenoma, Velho Chico), Tainá Medina (O Doutrinador), Victor Sparapane (Malação), Fábio Lago (O Outro Lado do Paraíso, Cheias de Charme), Jéssica Córes y Jimmy London.

Basada en las historias de los escritores Raphael Draccon y Carolina Munhóz. Escrita por Mirna Nogueira (Carrossel, O Doutrinador), Antonio Arruda (Casa Kadabra), Marco Borges (Topíssima), Regina Negrini (Casa Kadabra) y Ludmila Naves (Escola de Gênios, Gaby Estrella) y dirigida por Júlia Pacheco Jordão (O Negócio, Julie e os Fantasmas) y Luis Carone (Pico da Neblina). Ocho episodios.

Estreno: 5 de febrero en Netflix

Estreno en España: 5 de febrero en Netflix España

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The Equalizer (CBS)

Reimaginación de la serie emitida en CBS entre 1985 y 1989 en la que una mujer enigmática con un misterioso pasado (Queen Latifah; Star, Chicago) usa sus extensas habilidades para ayudar a los que no tienen a quien recurrir. Le acompañarán Chris Noth (The Good Wife, Sex and the City), Lorraine Toussaint (Orange Is the New Black, Into the Badlands), Adam Goldberg (Fargo, Joey), Tory Kittles (True Detective, Colony), Liza Lapira (Unbelievable, Apartment 23) y Laya DeLeon Hayes (Raven's Home, Just Add Magic).

Escrita y producida por Andrew Marlowe (Castle, Take Two) y Terri Miller (Castle, Take Two).

Estreno: 7 de febrero

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Clarice (CBS)

Secuela de The Silence of the Lambs ambientada en 1993 y centrada en la detective Starling (Rebecca Breeds; Pretty Little Liars, The Originals) mientras persigue a asesinos en serie y depredadores sexuales en Washington D.C. Con Kal Penn (Designated Survivor, House M.D.), Michael Cudlitz (The Walking Dead), Nick Sandow (Orange Is the New Black), Lucca de Oliveira (Animal Kingdom, SEAL Team), Devyn A. Tyler (The Purge, Watchmen), Jayne Atkinson (Criminal Minds, House of Cards), Marnee Carpenter, Shawn Doyle (The Expanse, Impulse) y Tim Guinee (Homeland, Revolution).

Escrita y producida por Alex Kurtzman (Fringe, Alias) y Jenny Lumet (Star Trek: Discovery).

Estreno: 11 de febrero

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The Great North (FOX)

Comedia de animación centrada en las aventuras en Alaska de la familia Tobin. Beef es un padre soltero que hace lo que puede para mantener cerca a sus hijos, especialmente desde que los sueños artísticos de su única hija, Judy, la dirigen lejos del barco pesquero familiar y el centro comercial del pueblo. Con las voces de Nick Offerman (Parks and Recreation, Devs), Jenny Slate (Big Mouth, Bob's Burgers), Megan Mullally (Will & Grace, Parks and Recreation), Paul Rust (Love), Aparna Nancherla (Corporate, Crashing), Will Forte (The Last Man on Earth, 30 Rock) y Dulcé Sloan (The Daily Show).

Escrita por Wendy Molyneux (Bob's Burgers, The Megan Mullally Show), Lizzie Molyneux (Bob's Burgers) y Minty Lewis (Regular Show). Ya está renovada por una segunda temporada.

Estreno: 14 de febrero

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The Crew (Netflix)

Comedia ambientada en un taller de NASCAR, donde la hija del dueño (Jillian Mueller, Porno) hereda el negocio y el jefe del equipo técnico (Kevin James; Kevin Can Wait, The King of Queens) debe aceptar a regañadientes a sus nuevos compañeros millennials aunque choque con ellos en su forma de trabajar. Con Freddie Stroma (UnREAL, Bridgerton), Sarah Stiles (Billions, Get Shorty), Gary Anthony Williams (I'm Sorry, Malcolm in the Middle), Dan Ahdoot (Cobra Kai, Bajillion Dollar Propertie$) y Mather Zickel (Masters of Sex, Better Things).

Escrita y producida por Jeff Lowell (The Ranch, Two and a Half Men). Producida por James (Kevin Can Wait, The King of Queens). Diez episodios.

Estreno: 15 de febrero

Estreno en España: 15 de febrero en Netflix España

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Young Rock (NBC)

En 2032, el actor Dwayne Johnson, también conocido como "The Rock" se presenta a las elecciones de Estados Unidos. Dwayne creció en una familia fuerte y resiliente, se rodeó de personajes salvajes en su trabajo en la lucha libre y jugó al fútbol americano en la Universidad de Miami. La serie contará estas etapas que le han convertido en quien es hoy. Protagonizada por Dwayne Johnson (Ballers, The Scorpion King), Adrian Groulx, Bradley Constant (Following Phil), Uli Latukefu (Marco Polo, Harrow), Joseph Lee Anderson (American Soul, Harriet), Stacey Leilua, Ana Tuisila (Harry), Fasitua Amosa (Harry, The Tattooist), John Tui (Fast & Furious Presents: Hobbs & Shaw, Solo), Taj Cross (PEN15) y Lexie Duncan.

Creada por Dwayne Johnson, Nahnatchka Khan (Fresh Off the Boat, Apartment 23) y Jeff Chiang (Fresh Off the Boat), que producen junto a Dany García (Ballers, Jumanji: Welcome to the Jungle), Hiram García (Ballers, Jumanji: Welcome to the Jungle), Brian Gewirtz (WWE) y Jennifer Carreras.

Estreno: 16 de febrero

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Kenan (NBC)

Comedia familiar sobre un padre (Kenan Thompson; Saturday Night Live, Unbreakable Kimmy Schmidt) que acaba de enviudar y está decidido a serlo todo para sus dos hijas (Dani y Dannah Lockett), aunque no le quede más remedio que dejar a su hermano (Chris Redd, Saturday Night Live, Disjointed) y a su suegro (Don Johnson; Miami Vice, Nash Bridges) involucrarse más en sus vidas, mientras trata de compaginar sus tareas familiares con su trabajo como presentador de un programa de televisión matinal. Con Kimrie Lewis (Single Parents, Scandal) y Punam Patel (Special, The Cool Kids).

Escrita y producida por Thompson, David Caspe (Happy Endings, Black Monday), Jackie Clarke (Happy Endings, Superstore), Lorne Michaels (Saturday Night Live), Ken Whittingham (Suburgatory) y Andrew Singer (30 Rock, The Other Two).

Estreno: 16 de febrero

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Behind Her Eyes (Netflix)

Una madre soltera con un trabajo rutinario de secretaria (Simona Brown, The Night Manager, The Little Drummer Girl) conoce una noche a quien resulta ser su nuevo jefe casado (Tom Bateman, Vanity Fair, Da Vinci's Demons) y se obsesiona con su matrimonio y sus secretos y se hace amiga de su esposa (Eve Hewson, The Knick, The Luminaries). Con Robert Aramayo (Game of Thrones, Harley and the Davidsons), Tyler Howitt (His Dark Materials) y Ashton McAuley (Trigonometry, Rocketman).

Adaptación de la novela de Sarah Pinborough (2017). Escrita por Steve Lightfoot (Hannibal, The Punisher). Seis episodios.

Estreno: 17 de febrero

Estreno en España: 17 de febrero en Netflix España

Tribes of Europa (Netflix)

En el año 2074, Europa está dividida en muchos estados tribales que luchan por dominarla. Los hermanos Kiano (Emilio Sakraya, Warrior Nun), Liv (Henriette Confurius) y Elja (David Ali Rashed) se ven atrapados en medio de una sangrienta guerra y lucharán por cambiar el destino del continente mientras toman sus propios caminos. Con Oliver Masucci (Dark, The Girlfriend Experience), Melika Foroutan, James Faulkner (Game of Thrones, Da Vinci's Demons), Alain Blazevic, Hoji Fortuna, Jeanette Hain, Robert Maaser, Anon Mall, Kendrick Ong, Leona Paraminski, Christoph Rygh, Ana Ularu y Adam Vacula.

Creada por Philip Koch y dirigida por Koch y Florian Baxmeyer (Die rote Jacke, Tatort). Seis episodios.

Estreno: 19 de febrero

Estreno en España: 19 de febrero en Netflix España

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Tell Me Your Secrets (Prime Video)

Thriller en el que los límites morales se difuminan centrado en tres personas dañadas con pasados problemáticos que quieren empezar de cero pero serán llevados al límite. Emma (Lily Rabe, American Horror Story, The Undoing) es una joven que una vez miró a los ojos a un peligroso asesino y acaba de salir de prisión con una nueva identidad; Mary (Amy Brenneman; The Leftovers, Private Practice) es una madre obsesionada con encontrar a su hija desaparecida (Stella Baker); y John (Hamish Linklater; The Newsroom, Fargo) es un antiguo depredador desesperado por encontrar la redención. Completan el reparto Enrique Murciano (Bloodline, Without a Trace), Chiara Aurelia (Gerald's Game), Charles Esten (Nashville, The Office), Xavier Samuel (Twilight, Adoration), Marque Richardson (Dear White People, True Blood), Kat Willis (Friday Night Lights, Queen of the South) y Chase Stokes (Outer Banks, Daytime Divas).

Creada y escrita por Harriet Warner (Call the Midwife, Mistresses) y dirigida por John Polson (The Wilds, Elementary). Diez episodios.

Estreno: 19 de febrero

Estreno en España: 19 de febrero en Prime Video España

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Superman & Lois (The CW)

Spin-off del Arrowverse en el que Superman (Tyler Hoechlin; Teen Wolf, 7th Heaven) y Lois (Elizabeth Tullock; Grimm, The Artist) trabajan y tienen dos hijos adolescentes, Jonathan (Jordan Elsass, Little Fires Everywhere) y Jordan (Alexander Garfin). Con Dylan Walsh (Nip/Tuck, Unforgettable), Emmanuelle Chriqui (Entourage, Murder in the First), Erik Valdez (Graceland, General Hospital), Inde Navarrette (13 Reasons Why), Wolé Parks (Devious Maids, The Vampire Diaries), Sofia Hasmik (Mad About You), Stacey Farber (Saving Hope, UnREAL), Adam Rayner (Tyrant, Mistresses).

Escrita y producida por Todd Helbing (The Flash, Spartacus: Blood and Sand).

Estreno: 23 de febrero

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Ginny & Georgia (Netflix)

Ginny (Antonia Gentry, Raising Dion), de quince años, a menudo se siente eclipsada por su madre treintañera (Brianne Howey, The Passage, The Exorcist) y también más madura que ella. Viven junto a su hermano Austin (Diesel La Torraca) en un pueblo de Nueva Inglaterra, donde Georgia quiere asentarse y dar a sus hijos una vida normal mientras su pasado no la encuentre y destroce sus planes. Completan el reparto Jennifer Robertson (Schitt's Creek), Felix Mallard (Locke & Key, Happy Together) y Sara Waisglass (Degrassi: Next Class), interpretando a los vecinos; y Scott Porter (Friday Night Lights, Scorpion) y Raymond Ablack (Narcos, Shadowhunters), dando vida al alcalde y al dueño de un restaurante local.

Creada y producida por Sarah Lampert y escrita por Debra J. Fisher (Being Mary Jane, Criminal Minds). Diez episodios.

Estreno: 24 de febrero

Estreno en España: 24 de febrero en Netflix España

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Punky Brewster (Peacock)

Revival de la serie emitida en NBC entre 1984 y 1988 en la que Punky (Soleil Moon Frye) es ahora madre soltera de tres hijos e intenta reconducir su vida. Es entonces cuando conoce a Izzy (Quinn Copeland, Waitress), una niña del sistema de acogida que le recuerda a ella cuando era joven. Con Cherie Johnson (Punky Brewster, Family Matters), Freddie Prinze Jr. (I Know What You Did Last Summer, Scooby-Doo), Lauren Lindsey Donzis (No Good Nick, Liv and Maddie), Oliver de los Santos y Noah Cottrell (Skyscraper).

Escrita por Steve y Jim Armogida (School of Rock). Diez episodios.

Estreno: 25 de febrero

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#series tv #television

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rahullikesthings · 5 years

Text

I guess I have to do one of these year-end reflections again. I’ve done them the past five years. They were initially just so I can post some music rankings, but later on I think I got a lot out of treating these like a journal. I don’t have anything obvious to say about 2018, which to be honest is a good thing. Overall, for me, it was a positive year. There’s nothing super obvious that stands about but nothing negative either. I think that’s because the foundation of my life mentally, socially, career-wise is finally being settled and that’s an incredible thing for me but also on the surface not too exciting. I did some traveling – Florence, Vienna, Mexico City. Is it worth doing? Absolutely. But, man, I really don’t like traveling alone. I got passed at my first comedy club. I found a new group of friends. I feel like I checked a bunch of accomplishments off my list. There’s still plenty more for next year and beyond, but I have no complaints.

I was trying to put together these music lists and I realized how strange my relationship with music is today. Music means so much to me but it feels like I have so little time to spend with it. Partly in the attention span sense. Albums come out one week and then another batch drop the following week. It can feel hard to keep up. But really, I literally have so little time to actually listen. I strive to properly listen to everything I give a chance to. No screens, no other distractions. Unless I actually have free time at home at night, my only chances to do so are on my walk to the train station. And even then, it’s hard for my mind not to wander sometimes. So some albums maybe get one listen with 60% of my attention and that’s all they’re going to get. Singles are tricky too. I’ll like a song, throw it in a year-end playlist and maybe get back to it. I rarely ever listen to the radio and I work in fucking San Francisco, so I don’t always know what’s hot at the moment.

As far as any art and media are concerned, I think I devote the most of my time and thought to TV and movies. I watch literally every tv show and I read all the criticism. I fucking love it. I will also see almost any movie.

All my rankings are pretty arbitrary. For songs, albums and movies, I really had no obvious number one. Everything is kind of all there. For TV however, I absolutely loved Atlanta, Bojack and Big Mouth and think there’s so much to be said about how great they all are. Teddy Perkins, the Barbershop episode, the funeral episode, the Halloween party, all of Big Mouth. They made me feel all sorts of emotions but their existence alone brought me so much joy. Best Songs:

Rae Sremmurd “Offshore (feat. Young Thug)” Drake “Nice For What” Don Tolliver “Diva” Migos “Stir Fry” Cardi B “I Like It (feat. Bad Bunny & J Balvin) Jay Rock & Kendrick Lamar “King’s Dead (feat. Future)” Lil Baby & Gunna “Drip Too Hard” Ella Mai “Boo’d Up” 03 Greedo “In My Feelings” Bas “Barack Obama Special” Jeremih & Ty Dolla Sign “The Light” Kodak Black “Calling My Spirit” Future “No Shame (feat. PARTYNEXTDOOR)” Calvin Harris “One Kiss (with Dua Lipa)” Sheck Wes “Mo Bamba” Gucci Mane “Wake Up in the Sky (feat. Bruno Mars & Kodak Black)” Tyga “Taste (feat. Offset)” Drake “Jaded” Pusha T “If You Know You Know” Khalid “Love Lies (with Normani)” Post Malone “Ball for Me (feat. Nicki Minaj)” Bad Bunny “MIA (feat. Drake)” A$AP Rocky “OG Beeper” Alison Wonderland “High (feat. Trippie Redd)” Shawn Mendes “Where Were You In the Morning?”

Best Albums:

Don Tolliver Donny Womack SiR November Jacquees 4275 Meek Mill Championships Kodak Black Dying To Live Future Beast Mode 2 Tierra Whack Whack World Black Milk FEVER Scallops Hotel Sovereign Nose Of Your Arrogant Face BlocBoy JB Simi Mariah Carey Caution Cardi B Invasion of Privacy Playboi Carti Die Lit Mitski Be The Cowboy Jay Rock Redemption Pusha T DAYTONA Earl Sweatshirt Some Rap Songs Freddie Gibbs Freddie Kevin Gates Luca Brasi 3 Black Thought Streams of Thought Vol. 2 The Weeknd My Dear Melancholy, Lil Wayne Tha Carter V Ella Mai Ella Mai Saba CARE FOR ME Jeremih & Ty Dolla $ign Mih-Ty

Best Beats:

Pusha T “The Games We Play” (Kanye West, Andrew Dawson) Black Milk “DiVE” (Black Milk) Tierra Whack “Hookers” (Nick Verruto) Earl Sweatshirt “Cold Summers” (Earl Sweatshirt) Cardi B “Money Bag” (J. White Did It) Playboi Carti feat. Nicki Minaj “Poke It Out” (Pi’erre Bourne) Future “Walk On Minks” (Zaytoven) Kendrick Lamar & Travis Scott “Big Shot” (Cardo, Cubeatz, Sounwave, Matt Schaeffer) Drake “Nonstop” (Tay Keith) SiR feat. ScHoolboy Q “Something Foreign” (Saxon) IDK feat. Domo Genesis “GOOD NEWS” (Sap) Ariana Grande “get well soon” (Pharrell) 03 Greedo “Basehead” (Kenny Beats, Judge Beats) Kodak Black “When Vultures Cry” (Helluva) Snoop Dogg feat. Goldie Loc “220″ (My Guy Mars) Phryme feat. Novel & Summer of 96 “Sunflower Seeds” (DJ Premier) Black Thought “The New Grit” (Salaam Remi) 2 Chainz “OK BITCH” (June James, The Hit Cartel)

Best TV Shows:

Bojack Horseman Big Mouth Atlanta Barry The Deuce Glow The Good Place Narcos: Mexico Ozark Better Call Saul Killing Eve Crashing (HBO) Shark Tank Succession Patriot Act with Hasan Minhaj Single Parents Sorry For Your Loss American Vandal The Marvelous Mrs. Maisel Homecoming Forever Maniac All of Nothing: Dallas Cowboys

Best Movies:

Roma Minding The Gap Black Panther Spider-Man: Into the Spider-Verse Widows mid90s A Star is Born Game Night A Simple Favor Fantastic Beasts: The Crimes of Grindelwald Blindspotting Avengers: Infinity War Mission: Impossible – Fallout Eighth Grade BlackkKlansman A Quiet Place Searching Blockers To All The Boys I’ve Loved Before Incredibles 2 Best Comedy Specials:

Chris Rock: Tamborine Adam Sandler: 100% Fresh Sam Morrill: Positive Influence Tom Segura: Disgraceful Tig Notaro: Happy To Be Here The Degenerates: Big Jay Oakerson The Comedy Lineup / Comedy Central Stand-Up Presents: Tim Dillon Drew Michael John Mulaney: Kid Gorgeous at Radio City Musical Hall Bumping Mics with Jeff Ross and Dave Attell

Previously: 2017 | 2016 | 2015 | 2014 | 2013

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